anything for him until Park Benjamin appeared as a second in the
periodical world and Horatio Bridge came to the rescue as a business
friend. It is true that Goodrich did not succeed in exploiting his
author; but he paid him the market price and gave him his chance, and
after all those days were not for Goodrich what our days have since
become for men of his calibre. Advertisement was not then the tenth
Muse.

If the papers were "cool," as Hawthorne thought, there was a word of
comfort here and there in the periodicals. "The American Monthly
Magazine," recalling its announcement of Hawthorne as the author of
these tales in the preceding fall, took occasion in a notice of "The
Token" for 1838 to flatter itself that the new volume was due to its own
suggestion; and the writer, who is presumably Park Benjamin, renews his
old praise. A later notice of the book itself, ascribed by Mr. Lathrop
to Charles Fenno Hoffman, appeared in March, 1838, and, while somewhat
ineffective and sentimental, discovers at the end the right new word to
say: "His pathos we would call New England pathos, if we were not afraid
it would excite a smile; it is the pathos of an American, of a New
Englander. It is redolent of the images, objects, thoughts, and feelings
that spring up in that soil and nowhere else." It was, however, to
Longfellow that both Bridge and Hawthorne looked to help his old college
mate's book with the criticism that would have the accent of good taste
and literary authority, and would carry weight in those higher social
circles where fame was lost and won, at least as was then believed.
Hawthorne sent him the volume as soon as it was issued, with a note
regretting that they were not better acquainted at college and
expressing his gladness in Longfellow's success as a writer, author of
"Outre-Mer," and also in obtaining his Harvard professorship; and some
three months later he followed this with a letter, so characteristic and